In 1980, Japan had already entered a period of economic prosperity, with its economic standard and living standards gradually improving, and there was a harmonious and upward scene everywhere. Pen | fun | pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

But in fact, in terms of salary, there is still a big gap compared to the future.

Today, the average Japanese employee who has just joined the company earns about 120,000 yen a month, compared to about 200,000 yen in 1985 and 180,000 yen in 2000.

But the price level of people at this time is about the same as in 2020, which is very good.

Medium-sized Fuji apples cost 150 yen each, ice cream costs 100 yuan each, and drinks in street vending machines cost 100 yen per bottle, and a regular lunch box sold at a supermarket costs about 500 yen.

The average hourly wage for high school students who started working is about 800-1,200 yen, which is about the same as in 2010, which is higher than in 2020, when the Great Recession took place, but much lower than the average of 1,500 yen an hour in 1985-1992.

It can also be seen that a weekly manga magazine of 180 yen is not a burden for Japanese students or young Japanese office workers.

In fact, living in Japan, if it is just daily expenses, from 1980 to 2020, not only are prices stable, but there is actually a deflationary situation, and the price of food and drink is slowly reduced, which really makes prices soar to the envy of Chinese people who want to stand shoulder to shoulder with Shenzhou 7.

This is also an important reason why in 2020, although the rise of the Internet has taken away a large number of people, because of the serious decline in the birthrate, and the decline of the three major manga weeklies in Japan, it can still have more than 100-2 million copies.

Kirin Weekly caught up with the golden age of the best of Japanese manga, and it was the beginning.

At this time, Japan's population is still rising, and there are not a few people with two or three children in the family, unlike in 2020, when the family did not dare to guarantee even one child.

Therefore, the terrifying sales of 6 million copies of Kirin Weekly in Japan were easily achieved.

In fact, there's a lot of room for that.

At least the Japanese market can hold about 2 million copies, because not only children and young people, but also adults in their 30s and 40s are gradually falling in love with reading Kirin Weekly manga.

Even with 6 million copies sold, it has completely surpassed the three major manga magazines in Japan, or even the sum of the three!

The most famous Japanese first-line manga artists are Akira Toriyama and Rumiko Takahashi.

Akira Toriyama's "Aralei" became the most important factor in driving the sales of "Weekly Shonen Jump", and after Rumiko Takahashi graduated, "Lucky Star Kid" was finally serialized, which also made "Weekly Shonen Jump" a great success.

These two manga are the only two Japanese comics that can be compared to Kirin Weekly.

But "Alalei" and "Lucky Star Kid" are just two comics, and "Kirin Weekly" has now expanded to 12 serialized comics and 1 single comic, and "Alalei" and "Lucky Star Kid" are not enough to watch at all.

To be honest, many Japanese, especially some so-called writers and literary managers, although this era is full of atonement for the Chinese people and will not engage in any crooked ways, they are still a little resentful that Japan's comic kingdom is actually occupied by "Kirin Weekly".

Their performance lies in calling on more Japanese manga artists to stand up and fight against the Great Demon King together.

There's no way to defeat the Great Demon King for a while, so let's have the ability to fight it first.

Under such circumstances, Tokuma Yasushi was naturally unwilling to be caught up by them.

Although he is generous by nature, he has to make money in business.

Not to mention that his other businesses have been a little bad lately, the agency of "Kirin Weekly" is the biggest cash cow in his hand now, with a gross profit of 1.8 billion yen a month!

Such a rich income is enough for him to do a lot of career expansion, if he is sniped, without this cash cow, what will he do?

So Yin Jun asked Toshio Suzuki to make a semi-monthly comic, and Tokuma Yasukuai gave the most adequate support.

On the shares, Tokuma Yasuai and Yin Jun are one and a half, but because they are in Japan, in terms of contribution, Tokuma Yasuai is more out.

Toshio Suzuki is worthy of being a super strong man in the future of the animation industry, and after more than half a year of planning and preparation, "Kirin Semi-Monthly" finally officially began to go on sale at this time at the end of November.

Originally, Yin Jun thought that he could change another name, but whether it was Toshio Suzuki or Yasushi Tokuma, they all felt that it was a pity that the brand "Kirin" was not needed, so they insisted on calling this name.

Not to mention, with the "Kirin" brand, Toshio Suzuki received more than 200 drawings within two weeks when he made a splash in the manga industry.

You know, there are less than 500 manga artists in Japan today!

Even though many of them are newcomers, who says newcomers can't?

Of course, in addition to the sense of pride of having their drawings serialized in the semi-monthly magazine of the best manga weekly in Japan, the more important factor for so many manga artists and newcomers to send their drawings is that the "Kirin Semi-Monthly" has offered a sky-high price that has made the entire manga industry jaw-dropping!

One page of drawing, the minimum is 20,000!

What is the guaranteed price given by the three major manga weeklies in Japan now?

"Weekly Shonen Jump" is 6000 yen per page.

"Weekly Shonen Magazine" is 5000 yen per page.

"Weekly Shonen SUNDAY" is also 5,000 yen per page.

The price of "Kirin Semi-Monthly" is more than twice as high as the most popular "Weekly Shonen Jump", and even 4 times that of the other two major weekly magazines!

If you calculate that you are serialized an average of 20 pages a month, then the remuneration of the manga artist who gets serialized is 400,000 yuan, which is about 180,000 yuan on average in Japan, which is already twice that of ordinary people and more than three times that of new employees.

That's not all.,If you serialize a lot of popularity.,If the selection is at the top.,There will be a continuous increase in price.,The top ten,At least 50,000 yen a page.,1 million a month.,But it's already the salary of an ordinary club executive.。

What's more, Japanese cartoonists all know that the most money for best-selling serialized comics is not in serialization, but in the royalties of single books, the copyright of cartoons, the copyright of peripheral products, etc., which add up to at least two or three times that of serialization, or even seven or eight times.

According to such a calculation method, as long as you enter the serialization of "Kirin Semi-Monthly", you can get absolute food and clothing.

The way "Kirin Semi-Monthly" is published, and after advertising, comic fans also know that they are very kind.

In a normal manga publication, it is generally about 360 pages of 20 manga serials, plus the number of pages of advertisements and illustrations, a total of 450-500 pages.

There are 25 comics in the "Kirin Semi-Monthly", with only a few illustrations and no advertisements, and the total number of pages is 500 pages.

Who doesn't want to spend less and get more?

The same is true for the Japanese.

For the same amount of money, you can buy more than 300 pages of other comics, but "Kirin Semi-Monthly" has 500 pages, and people don't have so many advertisements, the difference is really too great!

In this regard, the chairman of the representative director of "Weekly Shonen Jump" said sourly that "Kirin Weekly" has made too many profits, and of course they have the capital not to advertise, but the advertising itself is part of the comic book, otherwise where would they get so much money for the cartoonists?

Everyone doesn't know, in fact, there was a dispute between Tokuma Yasukai and Yin Jun about whether there was an advertisement, but in the end, Yin Jun's opinion prevailed.

After all, in the current Japanese domestic manga market, after "Kirin Weekly" is the only one, the three major manga weekly magazines firmly occupy the second echelon position.

In addition, the three major manga magazines have almost all the local manga artists in Japan, and if Kirin Semimonthly wants to win in Japan and attract excellent Japanese manga artists to join, it must have the upper hand in terms of its own content and friendliness to the audience.

The reason why Tokuma Yasukuai didn't insist was naturally partly because Yin Jun was right, and partly because he had made so much money with Yin Jun's "Kirin Weekly", and it was really not good to refuse the advice of a master-level comic scripter like Yin Jun.

Yin Jun insisted on doing this, of course, to attract excellent Japanese manga artists, so that when his future memories ran out, he would still have a channel that could replenish the excellent artists to Kirin Weekly.

You said that if you rob "Dragon Ball", Akira Toriyama won't be able to draw a better manga?

Robbed the "Youyou White Book", and the rich old thief can't be brilliant anymore?

Robbed "One Piece", and Oda has been silent ever since?

Of course not!

The reason why they are so good and outstanding is not just by virtue of any one comic, but by virtue of their genius imagination and creativity.

Therefore, even if Yin Jun robs the excellent works of those cartoonists, they can continue to become the best people with their own efforts.

And this is also an important reason why Yin Jun wants to recruit them.

But Yin Jun read the names and comics of the first batch of more than 40 cartoonists in the "Kirin Semi-Monthly", and he didn't find out the cartoonists in his memory, and he didn't know if someone used a strange pen name.

These people don't serialize the comics together.,But some of them debuted in the first issue.,Some are waiting for an opportunity while drawing.,Once a comic is cut in half.,They will quickly make up for it.。

On the whole, the first issue of "Kirin Semi-Monthly" did not have too many characteristics in Yin Jun's opinion, although it was actually not bad.

But the market response has been very good.

The first issue of Kirin Semi-Monthly was published with 300,000 copies, which is quite a lot for a newly created comic bimonthly, and the maximum is only about 1 million copies.

The first issue was published at Tokuma Shoten's chain of bookstores in various places.

As a result, in less than a day, 300,000 copies were sold out.

According to the feedback sent back one after another, among the 25 serialized comics, 5 got a passing score of more than 6 points, 13 comics got a good score of 7 points, and 3 comics scored as high as 8 points, and there is a youth joke comic called "Bored Boy", which actually scored 8.7 points!

A manga with an 8 score is considered an excellent work in the Japanese manga industry.

If it reaches a score of 9, it is an indisputable masterpiece.

Now the 13 serialized comics of "Kirin Weekly", plus a single comic, are all above 9 points, and even the popular "Lucky Star Kid" has only 8.8 points, and "Alalei" is about 9.1 points.

If such a rating lasts for 10 consecutive issues, basically this "Bored Boy" can be a god, and at that time, "Bored Boy" will officially join the serialization ranks of "Kirin Weekly", and serialize together with those legendary masterpieces.

This is also the reason why so many cartoonists are willing to contribute to "Kirin Semi-Monthly".

It is a very proud honor to be serialized with Mr. Yin Jun's comics.

But it began to be amazing, and there are not a few cartoons that hit the street directly behind.

Similarly, there are many people who were not very popular at first, but gradually began to rise steadily, and finally exploded into masterpieces.

Yin Jun is still very happy about such a start.

It's best to be able to dig up those comic gods in the previous life, but if you can dig up and train those buried cartoonists, it's also a good achievement.

He was happy, but Toshio Suzuki was a little worried.

For no other reason, it's just that the current loss is too big.

There is no advertising sponsorship, and the manuscript fee is high, and there are no copyrights sold, and I have hoarded more than a dozen comics waiting in one go, and I am constantly reviewing and discussing the signing of new comics...... In fact, since September, the loss of Kirin Semi-Monthly has exceeded 30 million yen, and in October it was as high as 50 million yen.

Although the two shareholders are rich and are mentally prepared to accept losses for more than a year, if they continue to lose money, he, the executive editor-in-chief, will have a dull face.

There are only two ways to change the current situation.

The first is to increase the sales of manga, so that if the number of copies per issue of Kirin Semimonthly can be stabilized to more than 1 million copies, the loss can be reduced to less than 10 million yen according to the current standards of manuscript fees and operating expenses.

The second is to sell all kinds of copyrights as soon as possible, so that the profits obtained are considerable, and the important thing is that the author's profit is only a small part, and most of it is still taken by "Kirin Semi-Monthly".

However, neither approach will be achieved immediately.

No one has the courage and courage of Yin Jun, the number of copies is 4 million as soon as it is published, and it has skyrocketed to 12 million copies in a year, and it is sold all over Asia, which can be said to be in the limelight for a while.

"Kirin Semi-Monthly" is not such a strong comic publication, and most of the authors are new authors, so it can only be said that there is potential, rashly increasing sales, resulting in a backlog that cannot be sold, not only becomes a joke for others, but also makes comic fans wonder "Is this comic publication not good enough", thus dealing a blow to existing fans.

As a result, we can only gradually increase the number of publications, and it is estimated that we can reach 1 million copies within three years, which is already thankful.

The copyright issue is not so difficult, about 10 issues later, you can see a general idea, many businessmen can also make decisions according to the reaction of the market.

However, on the contrary, "Kirin Semi-Monthly" is not in a hurry to sell the copyright at a low price, if a masterpiece is sold at a low price in a hurry, it will be too late to cry at that time.

To say a thousand things and ten thousand, there is no way to solve the loss of "Kirin Semi-Monthly" in the short term.

Toshio Suzuki, who works harder, can only be glad that his two bosses are rich and have the confidence to support it!